“The Gift of Hadrborg” Out Now!

The Gift of Hadrborg

The big day has arrived. The Gift of Hadrborg is finally available for eBooks on Amazon.

Based on the best selling game from Stoic Studio and published by the hardworking folks over at Versus Evil, the novel is a prequel tale that takes place before the events of the first Banner Saga. The story follows the efforts of Eirik, an undercover agent in service to the Governor, as he sabotages the gang-epidemic across the crime-riddled city of Strand. However his successes only stop the lowest tier of thugs and lowlifes, treating the symptoms but never the cause as the most organized elements manage from afar. But when a trio of strangers arrive followed by a known felon, Eirik is embroiled in an all-encompassing conspiracy that threatens to topple the city itself.

Packed with political intrigue, action, a pulsing plot and complex characters, The Gift of Hadrborg is an great starting point for uninitiated fantasy readers as well as an awesome supplement for fans of the games.

And if you happen to be heading to PAX East this year in Boston, be sure to checkout the panel for The Banner Saga 2 which will host game directors Arnie Jorgensen, John Watson, Drew McGee, Matt Rhoades and composer Austin Wintory. I’ll be signing physical copies on Saturday at the Versus Evil Photobooth before and after the panel– if you don’t download a copy for the flight to Boston, be sure to get the book for the return home!

Available now for eBooks on Amazon. Print edition coming soon. For more information be sure to follow Stoic Studio and Versus Evil on Twitter.

Journal, February 22nd

It’s Monday. A calmer weekend has passed, with no all-encompassing plans. We watched both Bridge of Spies and the laugh-riot that was Deadpool. If you can stomach slightly over the top violence, catch it– it’s as hilarious as people say. I also finished reading Harry Potter and the Deathly Hallows wrapping the series which, yes, I had never read before.

On the writer’s front, I have a manuscript that’s about 90% complete, over 7,500 words. The story kept growing, as the spy games and world building became more interesting and worth telling. This new piece is being crafted alongside another that Andrew is composing, as part of an ongoing challenge between us to try and submit to short story openings together. Our stories will be loosely connected yet independent enough of one another to stand alone if only one of us makes it.

Paired writing is something I really enjoy when teamed writers are on the same page. My experiences on fan fiction boards of the past tended to be somewhat… flaky, about this. But Andrew is a fantastic partner with regard to dependency and punctuality.

The challenge is also important to me; I’ve noticed that there’s a huge gap in my publishing schedules fast approaching. Fox Spirit’s recent releases have left only two short stories in my “soon to be published” queue, due to a combination of larger works (a novel and a few novellas) and a few rejected or unfinished manuscripts. Although I’m glad for larger works going on, I’m making an effort to keep smaller pieces in circulation.

Next month marks four years since my first paid piece was published. Four years of trying to expand the bibliography, trying to move up and on to do more as a writer. Despite a major success, the rest of last year has been full of hard knocks. My output has been dropping partially because of the aforementioned projects, but also due to the remarkable amount of research going into the latest submissions. The hardcore efforts have stung however, because despite twice the effort the results have been horrid disappointments. Promising ideas and concepts, even encouragement and interest from the editors… only to be rejected anyway.

The words have been flowing more slowly as of late. I believe the reason is because I’m looking to be concise, more efficient with what is said. With every section I find myself weighing the value of what is told. On one hand, it makes it easier to avoid the Stieg Larrson approach, where he gives too much information and details about the most utterly mundane things. On the flip side, some of those details are worth sharing, painting an image of fictional person’s preferences and aspects of the setting.

Sometimes it feels like proper character development and world-building is less in the appearance of something and more in the tale of why it exists in the first place. My latest piece feels like a solid example of that, in that it’s not so much a short story but rather a dozen historical vignettes that paint the portrait of the city in question. I’m not a vested history buff or anything. It’s just that if you stare at a city without digging into its past, they often look the same. People can be much the same, rather visually bland within crowds until you get to know them.

Perhaps that’s all many novels really are. A composite of a thousand micro-stories, with the main plot just the latest tally to be added to that list…

Fox Pockets: In An Unknown Country Out Now!

Unknown CountryAt long last, my favorite contribution to Fox Spirit’s micro-anthology series is available now! Fox Pockets: In An Unknown Country contains “Stroppendrager,” a historical fiction piece by yours truly.

I love writing historic fiction. Based on information on hand, I do my best to try and concoct a story around the facts rather than try and warp facts to fit my story. This particular yarn tells the origin of the “Noose Bearers,” whom are celebrated every summer by their respective guild. The reenactors dress up in white undershirts, ropes hanging from their necks as they are escorted down Gent’s streets by pike-wielding guards. This act by the Guild of Noose Bearers recounts the Revolt of Ghent in 1539, when the entire city refused to pay the increased taxes following the Italian Wars. Unfortunately for the city’s guilds, the revolt came to an end once Charles V showed up with 5,000 soldiers under his command.

Since the manuscript was finished, more translated research material has become available. The new information would have peppered the story with more insight of the times, such as the guilds strong involvement in the uprising and the political maneuvering to try and maintain Ghent’s independence. However, I believe the story personal elements of “Stroppendrager” remain unscathed. The central themes function independently of these new facts and do not invalidate the plot. The main character’s patriotic views and his counterfoils theological concerns still serve a thematically satisfying tale that could adapt to the facts rather than the other way around.

Ginger Nuts, Specters and TPS Reports

“In a way, we were robbed thrice.”

Earlier today, the review site The Ginger Nuts of Horror released an update regarding the situation at Spectral Press. As usual, I advise anyone of interest (particularly fellow writers) to read the original post before continuing with my observations on the matter.

But for those who just need a recap, Spectral Press has declared itself in financial straits. Owner Simon Marshall-Jones also mentioned health problems, to which I wish him health and speedy recovery. But with regard to the former issue, The Ginger Nuts of Horror will be altering its policies.

  1. They will no longer review works that offer only exposure.
  2. They will firmly vet small press publishers to prevent abuse.
  3. They have shown concerns regarding fair payment.

I applaud points one and two with alacrity. The third point I’d like to discuss because of vagueness in need of redress. Particularly on the subject of the token payment system (ah yes, TPS reports) and business growth.

My friends and I have all made erroneous steps once or twice in the (mine)field of the small press industry; tiny businesses who exist thanks to the ease of Amazon’s print-on-demand and eBook publishing services. We know better than to submit for “exposure.” And any publisher who too readily accepts our work likely has a quality problem. Despite our cautions, we still made mistakes.

print pressWe have been victim of at least one publishing company who failed to make the promised royalty payments when it formally closed its doors. Not only did they fail to deliver the meager earnings owed, but the returned stories could not be published anywhere without the less valuable “reprint” status.

These stories were some of our best work too, now reduced in value. And worse, because these anthologies were on-and-off the market in a mere four months, even the promised exposure failed to really materialize.

In a way, we were robbed thrice.

It’s nothing new however. The problem of troubled publishers failing to pay their authors is far older than Amazon. Even legends like Robert E. Howard suffered. When the author died in 1936, Weird Tales still owed him at least $800. Adjusted for inflation, that’s around $13,800 by today’s standard. A serious chunk of change.

In an ideal world, we would be paid the professional rate of $.05 a word, at the very least. But as book sales drive compensation, it’s not uncommon to settle for something less if only to get both companies’ and authors’ feet in the door. As I read and reread The Ginger Nuts’ statement, I began to wonder what and how they defined fair payment.

Payments from small press generally come in two forms: royalties and token, both with boons and burdens.

Royalties cost the company little up front, as they instead divide and deliver percentages of the sales to the authors for as long as the book remains on the market. If the book does well and the percentages fair, the authors will probably make better than a token payment. For the companies, royalties also encourage authors to get out there and sell the books direct, as they have an on-going incentive. The downsides? Royalties can be nil if the book doesn’t sell, and the author and company could end with nothing. Plus, royalties have to be paid periodically.

Token payments come with a whole different set of pros and cons, an upfront payment for temporary publishing rights. The downside is that it’s an upfront cost to the company, while the authors gain the benefit of immediate pay. The authors have less incentive to promote their work– they’ve already been paid. On the flip side, once the book surmounts those costs, the company begins earning pure passive-profit that the authors never see.

commercial revolutionI can tell you from experience that capital-intensive token payments are much easier for all parties. After the Bolthole anthologies were released, I had to hound a couple of authors every few quarters, telling them to update their rejected PayPal contact information. Calculating totals wasn’t fun.

I also learned to set aside capital from my pocket to pay authors as on-time as possible– PayPal can have delays three to five day long when transferring funds. Geez. I almost forgot I have to do that this week for Far Worlds.

But I digress.

Still, there is a potential problem with the token payment system. When a publisher is young, a low token payment is probably fine– If authors don’t like it, they shouldn’t submit. But persistently low payments are telling. If a publisher opens in 2012 and offers $10 for short stories, and in 2016 they’re still offering only $10 for submissions, then either:

  • A) Check with the prior authors and see if they’ve been paid. If they haven’t been, there’s a good chance the publisher is hoping the next release will be a strong enough ROI to cover all debts. In which case, don’t trust them.
  • B) The publisher is barely breaking even, which is neither good nor damning.
  • C) The publisher is making bank from the difference of cost against profit.

A is the worst case scenario. Obviously an author shouldn’t submit to them, as the publisher is outright gambling that book sales will turn around their situation. B (if you can prove it) is not great either, and should lead authors to question the publisher’s direction.

But of these options, C is the most complicated. It means that the publisher is actually growing, but is milking the situation instead of upping payments for the benefit of their authors. Admittedly, publishers need capital to grow; to pay for site improvements and better art, to launch bigger projects and so forth. Yet they’re not helping their authors grow with them. If evidence suggests C, quality authors could and should go elsewhere.

How do you prove B versus C? Well, it would help if publishers were more forthright about their sales data. If not, you can try to make estimates against the book’s sales rankings on Amazon. You can also watch their website. Did they suddenly get way better looking banners and artwork? Are they obtaining costly features and plugins? Did they just procure an author you’ve actually heard of for a novel?

But before you jump to conclusions, dig deeper. Make sure that one of their staff isn’t an experienced web developer or artist. Or that they weren’t already friends with the author long before the company came into existence. Or perhaps they’re infusing their own, private money into improvements (in which case, they’re bloody awesome). If they’re using available resources and skills to get out of option B, you can’t blame them.

But if you are one of those C optioned publishers reading this, I’d advise you to raise your rates. If your response is that it’s a hobby and not a business… well, you’re going to have a bad time. Because for authors and writers out there, it is a business. It’s our business.

Treat it with respect or walk on. 

Golden Bowie Land

DBBSI’m frustrated and angry. Not a single word of literary concern was written this weekend. Instead, a heavy chunk of my time was invested trying to deploy a new website. The efforts left me too mentally exhausted to really write, although I did go through and accept a number of edits for a completed novella. And what I learned about Linux administration will be valuable for my career, despite my intentions to apply these skills in a publishing capacity.

These late night efforts have left me in the surreal half-asleep trance even while I sit at work, listening to “Blackstar” by David Bowie. Likely due to my sleepless state, my mind simply rejected news of Bowie’s death this morning. I don’t mean skeptical, wait-until-the-internet-corrects-itself stoicism, but firm refusal to believe the facts. My obstinate reaction shocked me.

I considered why I felt as I did. In my twenties, I purchased his album Scary Monsters (And Super Creeps). Yet after listening, I did not understand him. His music and art were always unique and comprehension wasn’t always automatic. So many bands and singers try to find a particular sound that takes them to success, reproducing it with appealing variations for consumer consumption. But Bowie seemed impossible to emulate, even by himself. For all the music he concocted over the years, how often did any piece sound like the others?

The realization stopped me cold in my words. Even when unrecognized, David Bowie was always there.

Always.

subterreaneanThere were the overt hits and singles. In ’69 came “Space Oddity.” The year before I was born, Bowie teamed up with Queen to sing “Under Pressure.” And he changed and evolved over the years, such as when he teamed up with Trent Reznor for “I’m Afraid of Americans.” These are merely examples that readily come to mind, but the sheer body of work is staggering; 27 studio albums, 111 singles, 46 compilation albums.

When future generations of musical scholars study his discography, “Where should I begin?” is a philosophical debate of which few, if any, could be prepared.

But even when not present in body or voice, his music was felt, such as the acoustic versions sung in The Life Aquatic with Steve Zissou. His influences trickling into the acts and lyrics of dozens of artists, perhaps Lady Gaga the most. It all illustrates the sheer importance of the departed; David Bowie was not so much a person as he was, and still is, a pillar of human civilization. A column upon which rests our perceptions of the modern world.

Guys like me took him for granted.

And Bowie’s influence was never limited to music. While most people best remember him for his role as the Goblin King in Labyrinth, I was more attuned to his unique portrayal of Nikola Tesla in The Prestige. Christopher Nolan was so determined to have Bowie for that role, the director flew out to New York to pitch it to him in person. The act moved the singer to accept Nolan’s offer, even after initially declining.

ZiggyStardustThere are very, very few who could claim to know all the phases and periods of the Bowie era, from his beginnings in the early 60’s to Blackstar, his final album. The shifting costumes, various masks and rotating personas required listeners of the most eclectic tastes and hunger for the nouveau. Yet simultaneously, it is impossible to be oblivious of his importance, nor to admire at least one decade of his time. Some have called him a chameleon and the comparison fits… at least until one examines the sheer scope of what he accomplished. Then you know he was more than that.

He was elemental.

Like water, always taking new shape. The rain that makes the storm, the flurries of the blizzard and the endurance of the ocean. Beneath the madness of garish colors and the ripples of his psychological depths was something ever evolving, ever growing for 54 years. There will be no acts that are quite what he is — not was, for he has earned an immortality reserved solely for the artist.

After him comes only the note of silence, for none could fill his place. And his death conjures chagrin, for the world he sold is now a far less interesting place.

Things in the Dark, Out Now!

Things in the DarkAnother short by yours truly is available in Fox Spirit’s latest release, Things in the Dark, now available in print at Amazon.

There’s a bit of history behind “Selachiamorpha Caesar,” my addition to this anthology. Originally, I wrote a fairly different story to submit to Fox Spirit’s Under the Waves. That tale was a simple one about a boy who enjoys diving, having learned from his now-missing aunt. Originally I envisioned a two or three part mystery for inclusion in a few of the themed Fox Pocket anthologies.

That idea first came about more than two years ago, just before a trip to Australia. During that vacation, I (as an American) had a once-in-a-lifetime chance to go scuba diving in the Great Barrier Reef. The experience was my first time diving, overwhelming as I tried to take pictures, learn the art of breathing carefully, maneuver in a rubber suit and try not to touch anything.

All of this at the same time. It was quite a juggling act.

Before I boarded the plane however, I did a fair amount of research into scuba diving to get a grasp of the basics and the theory. That knowledge formed the basis of “Bottom Dwellers” which I submitted to Under the Waves.

Even as I clicked the send button to deliver that submission to Fox Spirit, I doubted it. Ultimately, there’s a point where knowing a good story from an uninteresting one becomes rather instinctive (although being able to explain why is an incredibly valuable skill). Despite knowing this, I submitted “Bottom Dwellers” anyway, in order to tell myself that I truly tried and failed rather than didn’t try.

The plot of “Bottom Dwellers” started by establishing the boy’s love of diving, then flows into a trip to Sydney to celebrate his birthday. His mother helps him dive in an area his aunt loved to explore, where he finds a long decomposed body. The police autopsy confirms the corpse is not his aunt, but was meant to add an element of mystery to be unraveled later.

Though I trusted that the technical details were there, I suspected the plot just didn’t have as much punch as I’d hope. It was one of those situations where the ending was probably the most interesting part, and everything that led to the climax seemed… perhaps a bit cookie cutter. If I rewrote it, I might have begun with the discovery of the body, filled in the emotions and details after the fact, and concluded by definitively connecting the corpse to the aunt in some way.

However, it was not a wasted exercise. The story itself was excellent practice. And I took the research and combined it with two different ideas into a completely new and unrelated tale which found its way into this anthology.

Spoilers follow. 

Continue reading

Jessica Jones Season 1 Review

Jessica Jones Poster

This review contains spoilers.

This reviewer has very little prior knowledge of Jessica Jones or Luke Cage, although he is familiar with the Purple Man from early-era Daredevil comics. As such, these reviews are against the material as presented on television. And on that note, Marvel’s knack for turning little known heroes and heroines into amazing small screen series cannot be understated.

Like its movies and series before, Marvel’s success continues to hinge upon top notch casting decisions. Krysten Ritter stars as the titular character, a former super hero turned private investigator with a tragic past. Ritter perfectly captures the essence of a woman tired of the altruism of the superhero gig, and has nothing to show for it but scars caused by the violent shattering of good intentions. Foul mouthed, sardonic and utterly jaded, Ritter successfully blends her comical wit and slyness from Don’t Trust the B– in Apartment 23 with the dramatic talents she proved to possess in Breaking Bad.

Most of Jones’ work involves the typical, misanthropy-inducing sleaze that comes with the occupation; gathering dirt for clients to ease their divorce proceedings. Jessica’s lowness is further highlighted by her more successful associations. These include her adopted sister, famous talk show Trish Walker, and high-powered-high-profit Attorney Jeri Hogarth who is the source of most of Jones’ dubious clients.

However, Jessica haunts her past as much as it haunts her. She all but stalks Luke Cage, the owner of a local bar, for reasons of her own. And the rest her time is spent as inebriated as possible. Yet her path changes trajectory when she’s charged with locating a missing girl named Hope Shlottman (Erin Moriarty).

This chase eventually crosses paths with Kilgrave, better known as the Purple Man, a sociopath from Jessica’s past with the ability to control minds. Determined to hurt Jones’ for the pain of her abandonment, Kilgrave uses his powers to frame the kidnapped Shlottman for the murder of her parents.

David Tennant plays the role of Jones’ tormentor and nemesis Kilgrave. While Marvel’s movies seldom possess the time to carefully cultivate their villainy, their small screen work truly makes their bad guys amazing to behold. Just as Vincent D’Onofrio did with the Kingpin, Tennant makes the Purple Man shine with his warped sense of morality and refusal to accept responsibility for the actions partaken by those under his control. Driven by injured pride and obsession, Kilgrave returns from Jones’ past to try and reclaim what is “his.”

PosterPurpleManMarvelOne of the best elements of Jessica Jones has to be the unorthodox approach to handling the origin story. Too many comic-derived works take the Fantastic Tales approach of laying out the source of a protagonist’s abilities and heroic drive very early. And often rehashing it again and again whenever a new print starts or whenever a fresh introduction is required for new and expanding readership.

Rather, series creator Melissa Rosenberg wisely chose to wrap Jones’ past in two layers of mystery at least; the origin of Jones’ powers (to be discussed later) and Jones’ sordid history with Kilgrave and Cage, which is the center stage of this season.

For Jessica, Hope and a cast of other characters (including Eka Darville as Jones’ drug-addicted neighbor Malcolm), being a Kilgrave-survivor is a point of psychological intrigue. Kilgrave’s abilities raise unspoken questions regarding the nature of free will, as his victims are conscious and aware of their disturbing, involuntary actions, often voicing regret and remorse even as they obey. Yet the most horrible aspect of it is the sense of relief some of Kilgrave’s victims feel, assigning responsibility for their acquiesce to the man in charge. This psychological phenomenon is a carefully explored hypothetical that fairly puts the series in the realm of true science fiction.

Indeed, Kilgrave’s influence is felt absolutely everywhere and by everyone, no matter how much they try to elude him to deal with their own subplots. Those threads are a point of brilliance for the show. All the major characters are luckless enough to be caught by the Purple’s Man’s entangling web, which no one passes through without injury or consequence. And every subplot save one ties back into the centerpiece. Chekhov’s gun is observed and obeyed but the results aren’t without twists that shock and surprise.

CageOf those subplots, perhaps the highest praise could be paid to Mike Colter as Luke Cage. Like Jones, he is haunted by his past; a dead wife (at Jones’ hands and Kilgrave’s command), which led to a stint in prison where he achieved his powers of indestructibility. The original character is often classified as part of the blaxploitation era of the 70s, but care and vision had been given to the role’s reconstruction since then to stand above and beyond stereotypes.

Cage appears in roughly a third of the series, but his application moves the plot forward without overshadowing or distracting from Jones, while imparting depth and intrigue on his own. Colter’s passion for Cage has inspired this reviewer’s increased interest in the character’s forthcoming series, effectively selling it long before production finishes.

Then there’s Jeri Hogarth, portrayed by Carrie Anne-Moss. While the role was originally that of a man, Anne-Moss engaged the character with a sense of powerful rottenness that makes Don Draper of Mad Men look utterly meek in comparison. Hogarth’s story involves a tricky divorce from her wife for the love of her secretary, the strains of which grow until they are masterfully woven into the main plot. Her self-interest veers on the edge of antagonism even, such as preserving a sample of Kilgrave’s DNA for future study, even as the consequences turn karmic. Despite the tragedies that are inflicted on Hogarth, these traits are unlikely to have been erased, and one cannot help but wonder if she may become a villain.

Cage and JessicaWhile Cage provides a complicated love interest for Jones and Hogarth the professional and legal expertise, emotional support stems from her sister Trish Walker (Rachael Taylor). Grateful for Jessica’s help in escaping the clutches of their overbearing, fame-oriented mother, Trish’s attempts to aide her sister invoke the ire of Kilgrave. It’s here that Walker’s story interlaces with Officer Will Simpson (Wil Traval).

Turned into a pawn for the Purple Man, Simpson regrets his attempt on the life of the popular talk show host, and he and Trish eventually begin a relationship while the try to help Jones. A former soldier, Simpson has applicable experience for such situations. But Simpson’s extreme methods prove frictional for the women, who need Kilgrave alive to prove Shlottman’s innocence. The polarizing situation eventually drives Simpson back into the arms of a group known as TGH, who supply him with drugs that cause his combat prowess to match the intensity of his increasingly unstable demeanor. Walker’s research into this issue casts light on the mystery of the origin of Jones’ powers, hinting that TGH was responsible.

TrishThe remainder of the main plot proceeds as follows. Kilgrave’s attempts to manipulate Jessica fail, despite trying to exploit her past and Jones’ temptation to convince Kilgrave to use his powers for acts of decency. Kilgrave is eventually captured, and Jones discovers that she’s immune to his powers. Homework reveals that Kilgrave’s parents, inadvertently responsible for his abilities after trying to save his life from a disease, have been monitoring the situation from afar. Jessica involves them to build her case to the police.

Kilgrave escapes by exploiting Hogarth’s desire for an amicable divorce, but only after he slays his mother. Simpson appears later and destroys the gathered evidence, believing it folly to involve the law. Hogarth leads Kilgrave to her wife, who is a doctor, in order to treat a wound. Through Hogarth, Kilgrave learns of the fetus (of which he is the father) that was taken from Shlottman and preserved for study. Disgusted, Kilgrave leaves Hogarth to face the vengeance of her wife, but is saved by her secretary. Freeing Shlottman by coercing a DA, Kilgrave offers the girl in exchange for his father Albert. However the deal goes sour for Jones. Shlottman takes her own life as Kilgrave escapes with his father.

Let’s pause in the recap for a moment. If there was any weakness in Jessica Jones, it was here in the tenth episode. Kilgrave’s final escape risked being one chase too many, one dangerous step beyond the limits of audience’s interest, fractured by the wasted efforts of Jones, Hogarth and Trish to prove Shlottman’s innocence. And for many viewers, the scene was nearly as heartbreaking as a murder in Game of Thrones. Although the final three episodes rebound the desire to continue, this particular episode felt prolonged and almost needlessly tragic. These two factors made the tenth episodes “AKA 1,000 Cuts” the most difficult to watch.

NukeThe skills of Kilgrave’s father are harnessed to improve his son’s abilities, while Simpson’s volatility proves too dangerous. Trish and Jessica are forced to subdue Simpson, who disappears. Kilgrave proves the depth of his new-found power by deeply programming Luke Cage to lure Jones into his trap.

After rendering Cage dangerously unconscious with a shotgun blast to the face, Jones enlists Nurse Temple (Rosario Dawson) to keep her friend alive while Jones and Trish pursue the Purple Man. With no choice and no one left to defend, Jessica tricks Kilgrave into getting close before snapping his neck. Hogarth uses the implausibility of the circumstances to get Jessica off the hook legally. After regaining consciousness, Cage flees. Jones is alone again with only Malcolm, while Trish, given aide by her mother, begins researching TGH…

Jess-Jones-PosterHowever, the plot line involving TGH was the aforementioned mystery that remains unresolved for now. The second season hasn’t been announced as of yet as Marvel’s The Defenders likely takes priority. However, it’s not impossible that Jones’ may make appearances in Luke Cage or the second season of Daredevil between now and then.

Compared to DaredevilJessica Jones feels the more superior show by a few increments. Daredevil was somewhat handicapped by the sheer number of villains it was saddled with, and had many faces and story lines to introduce or at least hint at, both for its own sake as well as setting up the forthcoming miniseries. Jones was more free to explore the character and her yarns against 1.5 villains, and as a result handled its material slightly better.

If the first season of Daredevil has taken care of all the heavy lifting, and Jessica Jones is any indication of what to expect from now on, then we have a lot to look forward to from Marvels’ television studios.